Without some knowledge these students wander about musically and consequently express very little. What about those students who define jazz as “playing what you feel” and often shun theory discussions? Art can express feelings. I based this book on music theory that describes how the music sounds never loosing sight of the two rules. A “theory player” who does not sound good has not used music theory well. Whether he is able to articulate what it is that he does is another matter. A good player (“ear” or “theory”) knows what it is that he hears, plays by ear, and understands the concepts of what he plays. I have never liked the distinction between an “ear player” and a “theory player.” It implies that one who knows theory is separated from the aural, and implies that one who plays by ear knows nothing of what he plays. It is these artists who are the ultimate authority and who have determined the fundamental laws of music theory. The book includes musical examples from a wide range of sources including Bach, Mozart, Charlie Parker, Duke Ellington, Tom Harrell and Mike Stern. The book’s concepts were based on personal research of jazz improvisation by outstanding jazz artists and the study of great musicians from all eras. There are no mathematical charts that are irrelevant to practical applications. And music theory has only two rules: (1) does it sound good? and (2) does it sound good? All else is a discussion of principles: “if I do this, it sounds good if I do that, it doesn’t.” I have tried to keep all discussions relative to the aural experience. Good music theory should describe how the music sounds. Students are encouraged to supplement this book by consulting the many available sources for the history of jazz, lists of representative musicians and recordings, and lists of standard jazz tunes for performance. There are five appendices included at the end of Volume II which should be valuable resources for students of jazz: Reference for Chord/Scale Relationships, Elaborations of Static Harmony, Endings, Composing Tips, and Theory Applications. Chapter 18 could be used as a graduate level jazz theory class using the transcriptions included here as a beginning. Chapter 18 provides analyses models of five well-known improvisations. After study of the component parts of jazz, a student should be prepared to recognize how pieces fit into the whole of a jazz improvisation and be able to transcribe and analyze complete jazz improvisations. Many of the concepts in the second section are best understood in relation to the foundation of the major/minor system. Volume II examines additions to and extensions beyond the major/minor systems (Chapters 12-17). This section includes a lengthy chapter on rhythms in jazz performance. Volume I deals with the relationship of jazz improvisation to the traditional major/minor system (Chapters 1-11). The book is divided into two volumes that correspond with two levels of jazz theory classes at the university level. Jazz shares tonal principles, harmonic frameworks, forms, and melodic construction with tonal music from the Baroque, Classical, and Romantic periods, and with ancient folk and contemporary popular music. Music of many different styles still share fundamental building blocks. ORGANIZATION It is my contention that jazz music theory should not be separated from traditional tonal music theory. I appreciated the opportunity to try out parts of chapters in those electronic chats, honing my opinions in some productive (and sometimes heated) discussions. Thanks also to Reed Kotler whose internet discussion group offered me the opportunity to offer my answers to many common questions. I want to extend thanks to the hundreds of students who helped me determine areas that needed clarification and allowed me to formulate answers. The book has been developed over the last ten years of teaching. This book is a resource to augment the learning experience of listening, transcribing classic jazz performances, and performing the music with peers. Why write one? This book is meant to be a supplement to and not a substitute for the aural musical education. Most of the great jazz artists we listen to learned from the aural traditions and not from written textbooks. There are no etude books for Indian classical music a student of African drumming does not run to the store to buy a copy of the well-tempered drum book. The success of this method is proven world wide. The music is passed from one teacher to a student, from one generation to the next, not from written books, but from the tradition of personal interaction, listening and imitation. INTRODUCTION PURPOSE Jazz is an aural tradition. 475 Appendix II: Elaborations of Static Harmony. 474 Appendix I: Reference for Chord/Scale Relationships. EXTENDED TERTIAN STRUCTURES & TRIADIC SUPERIMPOSITION.
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